Stina Aronson, who published seventeen books, is best known for her depictions of life in the ‘wasteland’ of Norrbotten province. She acquired a wide readership with her novel Hitom himlen (1946; This Side of Heaven) after many years of a distinguished writing career. Among the innovative features of Aronson’s tales from northern Sweden is the paucity of plot in the generally accepted sense of the word. Discovery of the world, its serenity and sudden horror, is the primary event.The greatest inner tension in Aronson’s later works is between the modernist description of the world and a moral or ethical attitude towards it. Aronson’s stories of northern Sweden offer the gift of resonance that transforms alien silence into familiar intimacy, which somehow remains fundamentally unknown and unknowable.
A number of social and ideological features became prevalent in the European transition from eighteenth to nineteenth century – the establishment of the middle-class family as culture-bearing and the Romantic idealisation of woman as partly the mother of God and nature and partly the unconscious and alien aspect of the man’s humanness. These features contributed to a union of the previous periods’ female types, the housewife and the salon hostess, in the woman of the Romantic intimate sphere. In this way, Romanticism gave the woman a cultural position by virtue of gender alone – a position which she had not had before and would soon lose again. The Romantic intimate sphere was, unlike the salon, a home, but not therefore simply a (petit) bourgeois nuclear family. It was a community of the sexes, which would realise the Romantic philosophy and religious attitude to life. By absorbing and conveying inspiration from the wider European movement, women’s literature played a key role in structuring this new identity of the intimate sphere.
Elsa Gress’s pen is, in her own word, heretical. The root cause and partial explanation for the repeated theme of being left out is a reflection of her personal experience of feeling like the odd one out, of feeling misunderstood, of speaking but not being heard. In her books of memoirs, the enforced feeling of otherness during her childhood and adolescence is seen as the background against which she establishes herself in the role of “professional outsider”.Her writing career is characterised by the clash between wanting to maintain a marginal position – being an outsider, who sees more clearly – and wanting to be heard and understood. That a woman writer, and particularly a woman who participates in the public debate, will be subject to prejudice is, in Elsa Gress’s view, a fate common to women who pick up a pen.Her own works were either praised as being “just as substantial and perceptive as a man’s” or she was called “acutely malicious as only an intelligent woman can be”. As castigator of society, culture, and gender, she certainly made sure the readers were “listening” – but she did not get them to toe her line.
On Literary Sexual Politics in the 1930s